IB: International Bluegrass April 2017

IB bluegrass INTERNATIONAL

Vol. 32 No. 4 April 2017

International Bluegrass Editor: Kelly Kessler kelly@ibma.org

Vol. 32 | No. 4 | April 2017

Designer: Erin Faith Erdos erinfaitherdos@gmail.com

STAFF

Paul Schiminger Executive Director

Kelly Kessler Director of Communications and Professional Development

Amy Beth Hale Director of Member Services

Eddie Huffman Director of Convention Services

BOARD EXECUTIVE COMMITTEE

MEMBERS OF THE BOARD

Joe Mullins, Chair Ben Surratt, Vice Chair Denise Jarvinen, Treasurer Regina Derzon, Secretary Alan Tompkins, Executive Committee member

Becky Buller-Artist/Composer/Publisher Jeremy Darrow-Artist/Composer/Publisher Jamie Deering-Merchandisers/Luthiers Mike Drudge-Agents/Managers/Publicists Silvio Ferretti- International John Goad-Print Media/Education Marian Leighton Levy-Recording/ Distribution/Marketing

William Lewis-At Large Steve Martin-At Large Stephen Mougin-At Large Mike Simpson-At Large Wayne Taylor-Artists/Composers/Publishers Bree Tucker-Myers- Event Production Bob Webster-Broadcast Media

INFO CONTACT US

INTERNATIONAL BLUEGRASS

IB, the monthly digital publication of the International Bluegrass Music Association

(ISSN #1095-0605) IBMA: IBMA is the trade association

4206 Gallatin Road, 37216 USA 615-256-3222 | 888-GET-IBMA Fax: 615-256-0450 Email: info@ibma.org Website: www.ibma.org

that connects and educates bluegrass professionals, empowers the bluegrass community, and encourages worldwide appreciation of bluegrass music of yesterday, today and tomorrow.

Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made: “Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.�

TA B LE O F C ON T E N T S APRIL 2017

INTERNATIONAL BLUEGRASS

TOC Photos: Anita Humphrey, Shelly Swanger

4 A Letter from Our New Membership Services Director

World of Bluegrass 6 Ask Eddie - An Expert Guide to WoB 12 Awards Balloting 14 Songwriter Track

16 Meet the LBG Class of 2017 18 Call for Proposals – Bluegrass Symposium 20 New releases 22 Remembering G.C. McCoury 24 industry news Martha Moore To SOURCE Hall of Fame Barcelona Bluegrass Camp Westport Folk & Bluegrass Festival

We value our members. This newsletter is our primary conduit for sharing news across our trade organization. Our goal is to carry news each month from all constituencies of IBMA’s membership.

Deadline info: news items and press releases are due at the IBMA office via snail mail or email by the 12th of the month. Submitting before the deadline is encouraged. Email all materials to Kelly here, or mail to 4206 Gallatin Pike, Nashville, TN 37216.

MEDIA GUIDELINES: •

Word .doc or .docx files preferred.

•

Images welcome. Please send images saved as jpegs at 72 dpi, and not larger than 5 Mb.

•

Links to video, audio and downloads are all welcome.

International Bluegrass

| April 2017

3

A Letter from Amy Beth Hale, our new

Membership

Services Director Good morning! I’m new here at the IBMA, so in case you don’t already know me, allow me to introduce myself. My name is Amy Beth Hale and I’m the new Member Services Director. I’m a Lebanon, Tennessee native and a 20-plus-year veteran of the music industry. I’ve been very fortunate to be able to work with some amazing people over the years and have spent a lot of time focused on songwriters, music publishers, and artists in the bluegrass and Americana genres.

Let me tell you a little story: When I first interviewed for a job at the IBMA, I ran off in a ditch in front of the building. After the interview, Paul and Eddie helped tape the back bumper back onto my car so I could drive it home. Talk about making a memorable first impression!

Thankfully, Paul had faith that I could not only maneuver the streets of Nashville without incident, but also bring some of my talents, knowledge, and skills to the IBMA. After our conversations, he knew how much bluegrass meant to me and how excited I was to be able to work more closely with the bluegrass community.

4

I’ve been a bluegrass fan all my life. I was lucky that my parents loved all kinds of music and listened to everything, but bluegrass was always in heavy rotation. If you see me out and about, ask me to tell you about my Dad and his “bluegrass history.”

My previous job was on Music Row here in Nashville and I had a habit of trying to, let’s say, raise awareness of bluegrass. I’ve always been the resident bluegrass cheerleader. So much so that when I told my friends and former co-workers about my new job here they enthusiastically said, “That’s a perfect fit!” It made me really happy to hear them say that. I hope you will think it’s a perfect fit too!

So that’s a little about me, a Tennessee girl with questionable driving skills and a big love for bluegrass. I am looking forward to meeting you along the way and I hope you will come up and introduce yourself if you see me somewhere.

International Bluegrass | April 2017

WOB 2017 NEWS

Now, let’s talk membership for a minute: If you aren’t already a member, why aren’t you already a member? We have several different membership levels for you to pick (no pun intended) from and I know one of them will be well-suited for you and your needs. When you join the IBMA, you are connected to an entire community and that community can help you expand your knowledge of the industry, offer you new opportunities, and put you in touch with other bluegrass professionals.

You will see below the different membership levels:

The benefits change depending on the level and we’ve broken them out here so you can see what might fit you best. Whatever you choose, here’s my advice to you: act now! World of Bluegrass is coming up in Raleigh, NC September 26-30 and the IBMA will open up registration and ticket sales to current members on April 4th at 10:00 am (CST). Notice that I said current members. That’s a full 2 weeks before we open it up to the general public and tickets (and hotel rooms) go fast!

Get in on the action and join now!

You can join (or renew) online at www.ibma.org or call us at 1-888-438-4262.

In closing, let me say that I’m happy to be a part of the IBMA team. Paul, Eddie, and Kelly have been great to work with and I am learning so much from them every day. I’m looking forward to meeting more of you and learning about your part of this bluegrass community.

I hope to see you in Raleigh!

International Bluegrass

| April 2017

5

ASK EDDIE

An expert guide to WOB 2017

Note from the editor: I posed these few questions to Eddie Huffman, IBMA’s Convention Services Director. Our staff member with the longest tenure in the office, Eddie has a gift for understanding and keeping track of the thousands of elements, large and small, that go into creating a successful World of Bluegrass week.

Kelly: Can you give us an overview of all the moving parts that will make up World of Bluegrass 2017 in Raleigh this September?

Eddie: World of Bluegrass is the largest integrated platform for bluegrass music in the world. Nowhere else can you find this range of content and activities which serve the entire bluegrass community from industry professional to fan. Add into that a lot of appeal to those only tangentially involved in bluegrass music. Across the board, the World of Bluegrass suite of events is the destination to connect, discover, and grow in bluegrass music.

Actually, showcasing is such an integral part of the week that we created the Bluegrass Ramble (Sept. 26-28) series as a companion event to the conference. It is both industry-focused as a platform for introducing talent and new music, and a fan experience for enjoying the new paths being charted in the music. We present a combination of 30 Official IBMA Showcase acts, along with sponsored acts and local Raleigh area acts. The Ramble is an incubator for the genre, presenting the artists shaping bluegrass music, both locally and globally.

The International Bluegrass Music Awards is in some ways the most important night of the week. This is where the professional members of the IBMA recognize their peers for their outstanding achievements throughout the year. So it is absolutely about honoring excellence in the genre across 24 categories, from Entertainer of the Year to Gospel Recorded Performance of the Year and Banjo Player of the Year. But it is more than that, also.

The Awards Show carries the message of that excellence beyond our association to the broader music industry and consumer markets. News of our Awards travels around the world.

Our overarching goal is to facilitate the growth and development of the bluegrass music community, from professional to fan. We reach this goal through offering four main World of Bluegrass events. I will try to keep this brief, and I invite readers to explore and learn more by clicking the links for each event.

The IBMA Business Conference (Sept 26-28) focuses on the professional community in order to grow the industry side. We deliver topnotch professional development and industry content, creating networking opportunities through receptions and special events like the Gig Fair (think speed dating for artists and talent buyers), business-to-business (B2B) engagement with our industry exhibitors, showcasing opportunities, and much more.

6

“

International Bluegrass | April 2017

I have to stress that it’s critical to support the Bluegrass Trust Fund so it can continue the great work it does. And the good news is you do that every time you purchase a ticket to see the top acts in our music, playing the Wide Open Bluegrass main stage in the Red Hat Amphitheater.”

“

Finally, to round out the week we have the Wide Open Main Stage festival, where we present the best in bluegrass music for large audiences of fans. Simply put, this is the fan experience not to be missed. At Wide Open you’ll see IBMA and Grammy Award winners, top-notch emerging acts, traditional bluegrass, acts that push the boundaries a bit—it is bluegrass music writ large, with something for everyone.

Most importantly, the festival is a fundraiser for the Bluegrass Trust Fund, a 502c(3) that provides emergency support for bluegrass music professionals. This is one of the most important things we do. The Trust Fund has

By making sessions relevant to multiple constituencies, it increases the opportunities for networking and making connections. We work to help folks find the content that they desire without isolating them in industry silos.”

been able to help a lot of people get through some difficult times, and the fans and the bands have made that possible through the proceeds from Wide Open Bluegrass festival ticket sales.

One of the positive things with our move to Raleigh in 2013 is that they are great partners and have worked alongside us to produce a multi-stage free street festival as part of the Wide Open Bluegrass experience. So we now have this enormous platform for featuring bluegrass music for the largest audiences ever. Folks who may not ordinarily seek out bluegrass are now able to explore what the genre has to offer. The street fest is a great plat-

form for our artists and for the genre as a whole. Yet I have to stress again that it’s critical to support the Bluegrass Trust Fund so it can continue the great work it does. And the good news is you do that every time you purchase a ticket to see the top acts in our music, playing the Wide Open Bluegrass main stage in the Red Hat Amphitheater.

So those are the four primary components that make up World of Bluegrass. From start to finish, across all the activities, the goal is the growth and development of bluegrass music.

This is something everyone needs to be a part of.

International Bluegrass

| April 2017

7

ASK EDDIE Kelly: What’s new this year that you’re excited about?

Eddie: Well, of course, I am excited about the new content coming out of our Education Committee and others such as the Talent Buyer and Songwriter Committees. They do such an incredible job drilling down to the critical industry issues that our attendees need to engage with. I am fully convinced that we offer the absolute best professional development content for our industry. Attendees will not get this great material elsewhere.

One the best possible things that could happen for our event is happening this year—a new Residence Inn will be online, located directly across the street from the Raleigh Convention Center! We have 95 rooms on peak nights in our block at nicely discounted rates. All the rooms are suites with separate bedroom and living area. I think once folks get a sense of it, they’re going to love it.

So we’re just really, really happy to have this option online, and happy to be able to offer more rooms at the event site.

“

The new Broadcaster Track is part of the larger effort to provide content tracks for specific fields within the industry. We began with the Talent Buyers in 2014, added Continuing Legal Education in 2015, and then developed a track for Songwriters last year. So it is part of a broader effort to better serve the industry. Of course, broadcasters are in no way limited to the broadcaster sessions, nor are they the only ones who can attend them.

As is common in our industry, session

topics often appeal to more than one constituency and that’s by design—we recognize that many of our folks assume multiple roles within their businesses. By making sessions relevant to multiple constituencies, it increases the opportunities for networking and making connections. We work to help folks find the content that they desire without isolating them in industry silos.

When you look at a 5-night stay and add in the room tax, you’re looking at over $500 in savings right there! And when you consider the savings on conference registration, which is an additional $95 that stays in your pocket when you register early, that puts the total savings at $632. To me, that makes waiting for the blocks to open, having my membership in order, and getting in there on April 4 at 10 AM Central on the nose very worth my while.

O

therwise, we do not have any major overhauls planned. We’re always analyzing survey data and adjusting and tweaking to make things better, of course. For instance, while we pack a ton of content and opportunity into each day of the conference, we have managed to shave a little time off our start and end times. We will be ending the Bluegrass Ramble showcases at 1 AM (last set begins at midnight), and we have pushed back Wednesday and Thursday conference sessions to 9 AM each morning.

Another thing I am excited to offer is free Facebook promotion for our sponsors and exhibitors. If our spon-

8

For the conference, we’re working on a Broadcaster Track. Some of these things we have been doing the DJ Taping session and DJ-Artist reception - but we’re adding some additional opportunities, including a DJ-Label information exchange where broadcasters and label can connect for distributing/receiving releases for airplay. By formalizing it as a track, we make it easier for folks to identify that content as specific to their work.

Broadcasters are essential for the growth of the music and we want be sure that we are offering them the best conference experience to support them in their work of sharing and promoting bluegrass music.

sors and exhibitors have promotions they would like to run during the event, a new product to unveil, or a slick promo video to help drive traffic to their booths or whatnot, we would love to feature those things through our channels.

We’re also happy to offer exhibitors $100 off the cost of a sponsored latenight showcase at the Marriott as a promotional tool for driving traffic to their booths. Sponsored showcases are a great way to get the word out about your products and services. This is experiential marketing that attendees can engage with. It goes far beyond just reading about it: they experience

International Bluegrass | April 2017

it, they feel it, and feeling is a powerful decision catalyst. We have some exhibitors that currently do this, and I hope our discount will encourage others to take advantage of the platform.

Oh, and we’re working on expanding the weekend academic symposium.

We started something fairly basic in 2014 with a session for college and university programs, added some performance slots for college and university ensembles in 2015, and now are looking at working with the Foundation for Bluegrass Music to provide a platform for scholarly research related to bluegrass music. This will be a free component on the weekend.

WOB 2017

Kelly: I read that members can save up to $632 on hotels and registration.

That’s a lot - is that real? How does it work?

Eddie: That is real. With help from our partners at the Greater Raleigh Convention and Visitors Bureau, we have negotiated incredible hotel rates at the Marriott, Sheraton, the brand new Residence Inn (see above), the Holiday Inn Raleigh Downtown, the Hampton Inn and several others.

Of course, there tends to be a lot of interest in booking in the Marriott and Sheraton since they are right there by the event site. And now with the new Residence Inn coming online there by the convention center, we’ll have a bit more inventory. And the great thing is this is where the cost savings are most significant.

Here’s how it works: make sure your membership is up-to-date, then register for the conference, or buy an Awards Show or PNC presents Wide

Open Bluegrass festival ticket on April 4, and that’s how you get access to the blocks in these hotels. The savings is $95 per night at the Marriott and Sheraton, and $90 per night at the new Residence Inn. When you look at a 5-night stay and add in the room tax, you’re looking at over $500 in savings right there! And when you consider the savings on conference registration, which is an additional $95 that stays in your pocket when you register early, that puts the total savings at $632. To me, that makes waiting for the blocks to open, having my membership in order, and getting in there on April 4 at 10 AM Central on the nose very worth my while.

I might be going a bit more into the hotels than you wanted, but this is an important piece of the event. We see a lot of pressure on the Marriott and Sheraton, as there is not enough inventory there to house everyone who wants to be there. We have requested an additional Marriott built on top of

the existing one, but they haven’t built that for us. OK, that’s just a bad joke, but it is an issue we are aware of, and we’ve worked with our partners in Raleigh to mitigate the inconvenience of being off-site. For example, the Holiday Inn Raleigh Downtown and the Hampton Inn in Glenwood South are both on the free R-Line shuttle provided by the City, free of charge.

And we have block discounts there as well, saving attendees anywhere from $60-$80 per night. Making this event affordable for attendees has been something at the center of our efforts with the move to Raleigh in 2013.

Nashville had become expensive, and as you know, it is really through the roof now, and Raleigh provided an opportunity to get the pricing right, both from a lodging standpoint and for the conference itself. You are not going to get this sort of value, what we offer in terms of conference content and music entertainment, for this low a cost anywhere else.

International Bluegrass

| April 2017

9

ASK EDDIE Kelly: What surprised you last year? Are there strengths that IBMA is looking to follow up on at WOB? Eddie: I don’t know if I should say I was surprised, but I was certainly pleased with how the spirit of inclusion emerged and blossomed at the conference last year. And when I say inclusion, I mean that in the fullest sense. Someone at a local university was interviewing me about inclusiveness at the events and made the comment, “This isn’t your grandpa’s bluegrass!” I replied that No, it is your grandpa’s bluegrass, most definitely. All these perspectives coexist. “Traditional” and “progressive” (I use quotes because those are both such loaded terms) are NOT mutually exclusive; tradition progresses and progress is built on tradition.

So this wasn’t a limited sense of inclusion that swapped one perspective for another, but rather one that valued all points of view. And the greatest part about it is that it was rather organic, coming from the membership getting involved in the event through committees and sponsorship.

It is something we want to carry forward this year.

Also, and again I’m not so much surprised as I am pleased — it is a part of a conscious strategy — but I was pleased to see an uptick in energy and appeal among younger artists and professionals. It is critical for the future of the genre to continue in this way, while also maintaining relevance and appeal for long-time grassers. I think that we too often think in mutually exclusive binaries—that in this case there exists some split in the human population be-

“

tween millennials and (the ill-defined) non-millennials, and that this insurmountable gulf lies between them. I don’t believe that, and I think things we saw last year around inclusion and the interest of young people suggest that I am right. Our goal with World of Bluegrass is to facilitate the growth and development of the genre. Part of making that happen is providing a platform for bridging supposed divides—whether they be generational, regional, or whatever—with the firm belief that doing so will only make the genre stronger, and strengthen its viability as a professional pursuit.

“Someone at a local university was interviewing me about inclusiveness at the events and made the comment, “This isn’t your grandpa’s bluegrass!” I replied that No, it is your grandpa’s bluegrass, most definitely.

All these perspectives coexist.”

Kelly: How about some insider tips, Eddie? How would you suggest making the most of it to anyone attending the Business Conference? What about the Bluegrass Ramble? The Awards Show? Wide Open Main Stage?

Eddie: Prepare ahead of time, go to everything you can manage to get to, and announce yourself. We pack in a ton of exciting and important content; it starts early and goes late, not to mention all the extracurricular happenings in the hotels until who knows when. To say it is a bluegrass music industry intensive is an understatement, but that is also the point. This is a week in which the mission of the IBMA fully manifests in real time, in physical proximity, where we all come together to establish and nourish professional and personal relationship, and lay the groundwork for the year ahead. So I can’t emphasize enough the importance of attending as many events as possible throughout the week.

And capitalize on your attendance. If you are attending a seminar, you are there for the content, sure, but you also have these opportunities to network with other attendees and panelists as well.

10 International Bluegrass | April 2017

Sit with folks you do not know, and introduce yourselves.

Make a friend. Participate in the sessions, share your experiences with the room. Introduce yourself to the panelists afterwards, talk to them in the hallway, exchange business cards. Meet people, and say hi. And get the most out of your conference experience by really engaging to the fullest extent.

Let people know you are going to the World of Bluegrass. If you are showcasing, either as an official IBMA Showcase act or as part of a sponsored showcase, or if you’re an exhibitor, promote what you are doing ahead of time. Look for ways to combine opportunities to maximize your visibility. For example, as I noted above, sponsor a late-night showcase to help promote your exhibit booth. Purchase an ad in the conference program. Create pocket-size schedules of your showcase sets. Take advantage of the networking facilitated through our online schedule, where you can create a profile, a personalized schedule, and connect with other attendees.

Activate your socials and other channels. Let people know you are coming to the conference, what you will be doing, and why they should check it out. Cut through the noise.

WOB 2017

Kelly: There are only four people on staff at IBMA. How do you possibly pull off a business conference and music festival with over 200 bands performing and 200,000 people attending?

Eddie: As we often say, the IBMA is not an office of 4 staff members, it is the membership. And that holds for the production of World of Bluegrass. None of this would be possible without the dozens of members who volunteer through committee work to pull together our programming, develop session topics, select official IBMA showcase acts, and much more. This event is truly the membership activating their international bluegrass music community. And of course, our partners at PineCone (the Piedmont Council for Traditional Music), the Raleigh Convention Center, and the Greater Raleigh Convention and Visitors Bureau are equally instrumental to everything that happens over the course of World of Bluegrass week, from production of the festival to

volunteer management to hotel logistics and local transportation among many, many other aspects. We have a decent roster of contract professionals as well, handling artist relations, sponsorship sales and fulfillment, onsite registration services, volunteer management, exhibit hall management, and more. And then there are the 300 volunteers who are on the ground making things work, making attendees feel welcome. They are absolutely indispensable. It is quite a team. Take a look at the acknowledgements page in your conference program to get a sense of the team it takes to make the World of Bluegrass happen, and when you run into these people, thank them for their heroic efforts.

Kelly: If someone in the field of bluegrass is on the fence about making the trip to Raleigh for World of Bluegrass next September, what would you say to them?

Eddie: Well, of course I would say, “Come see what we have to offer!” If you are a professional in the bluegrass music industry, or working toward that goal, the IBMA Business Conference is exactly where you need to be Tuesday morning, September 26, 2017. While there are a number of reasons one might be on the fence, one of the more common reasons has to do with the costs of attendance. It is not cheap to go anywhere these days, so we have worked to control the costs of attendance where possible. Obviously, we cannot influence airline rates, but we can negotiate hotel rates—as I mentioned earlier, those rates are nearly $100 off the standard per-night rates. And we can’t change the price at the pump, but we can offer extremely affordable registration fees, which are the lowest of any comparable event. If you are an IBMA member, you can attend a world-class industry conference for $200.

If you have never been before, we want you to come, so we offer that same world-class conference experience for as low as $175, whether you’re an IBMA member or not.

The bottom line is that we are a trade association, and fundamental to our mission is the growth and enhancement of the bluegrass music industry. So, alongside creating stellar content offerings, making our conference accessible across the economic spectrum (and the bluegrass world has a wide-ranging economic spectrum) is always at the forefront of our efforts. Attending the IBMA Business Conference is an investment in your career, and we work hard to pack in so much value into the week, you cannot afford to miss it.

To the festival attendee on the fence, I would remind you that you are actually getting more than an incredible bluegrass lineup that covers the breadth of the genre. When you come to the Red Hat at Wide Open, you are coming to a festival and a city where bluegrass is loved. And when you do, you are actively contributing to the betterment of bluegrass music by supporting the Bluegrass Trust Fund.

International Bluegrass

| April 2017

11

THIS MONTH: First Ballot for the International Bluegrass Music Awards April marks the start of the balloting process for the coveted International Bluegrass Music Awards. We offer this refresher on voting to get you ready for that special envelope coming to all voting members’ mailboxes in the middle of this month.

Since the first round of voting is a write-in ballot, IBMA gathers and makes available to members a reference list to assist in the nomination process. Find out how to contribute to the Eligibility Reference List in the sidebar below.

Selection Process The 17 awards voted on by IBMA professional members honor people who are known as, and who have achieved fame as, bluegrass music performers. The twelve-month eligibility period for this year’s awards is from April 1st, 2016 through March 31st, 2017. Voting is done exclusively by current professional members of IBMA at each stage in the election process. Nominees, however, are not required to be members of IBMA. The election will be accomplished in three stages. Each current professional member of IBMA (at the time of the mailing date) may make as many as five nominations per category and sub-category on the first ballot. All eligible nominees receiving ten or more nominations in the nomination stage will become candidates for awards and shall be placed on the second ballot. (Song of the Year candidates will be all songs receiving ten nominations or more, or the top ten vote recipients, whichever number is greater). Each professional member may vote for no more or no less than five candidates in any category in which they choose to vote. The top five vote-getting candidates in each category of the second ballot stage will become final nominees on the third ballot. Each professional member of IBMA may vote for their number one choice in any category on this third and final ballot.

The results of each stage of the election will be tabulated by an independent accounting firm. The accounting firm tabulating votes and the awards eligibility committee interpret every vote cast literally. Therefore, members must be very specific in identifying exactly which candidate they are voting for. For example, please list the complete band name if voting for an entire band or an individual’s name if voting only for one person from within a band.

12 International Bluegrass | April 2017

Ballot Schedule

Last day to join or renew and be able to vote on first ballot: April 3 Ballot 1: April 14 - April 28 - nominations Ballot 2: June 15 - June 30 Ballot 3: August 1 - August 15

The First Ballot Reference List Please consider adding recordings and instrumentalists to the Reference List on the IBMA site here. This is especially helpful for self-released projects. You may submit any recordings that fall within the eligibility period of April 1, 2016-March 31, 2017. You’ll find all the guidelines you need at the link above to contribute to the Reference List.

IBMA Awards and Criteria Voting members are asked to consider candidates and nominees based on the following criteria for which each award is intended. Information here also clarifies who are the actual recipients of each award

Entertain​er of the Year This award is for the performing act who demonstrated the greatest competence in all aspects of the entertainment field. Voters should give consideration to recorded and in-person performance, public acceptance, attitude, leadership, and over-all contributions to the bluegrass music image. The award recognizes the performing act.

Vocal G​ rou​p of the Year This award is for a group who regularly performs together who has shown outstanding recorded and in-person performance in the area of vocal performance. It is not limited to groups which only perform vocally. The award recognizes the performing group.

Instrume​ntal Group of the Year This award is for a group who regularly performs together who has shown outstanding recorded and in-person performance in the area of instrumental performance. It is not limited to groups which only perform instrumentals. The award recognizes the performing group.

Song​of t​ he Year This award is for any song, new or old, which was released or showed significant chart action within the eligibility period. Any song which has been nominated for this award in previous years is ineligible. The award recognizes the songwriter and artist.

Albu​m of the Year This award is for an outstanding recorded performance by an artist or artists, first commercially released during the specified time period.

The award recognizes the featured artist(s), producer, and label.

Gospel Recorded Performance of the Year This award is for an outstanding gospel recorded performance (vocal or instrumental song) that was first commercially released or showed significant chart action during the eligibility period. Versions of recorded songs released on albums nominated for this award in prior years are ineligible. The award recognizes the featured artist, songwriter, producer and label.

Instrumental Recorded Performance of the Year This award is for an outstanding instrumental recorded performance of a tune that was first commercially released or showed significant chart action during the eligibility period.

The award recognizes the featured artist, songwriter, producer and label.

Recorded Event of the Year This award is for a vocal or instrumental recorded performance of a song or tune, which was first released or showed significant chart action during the eligibility period, which represents a special collaboration between two or more artists (individuals or groups) who are known as touring/recording artists under their own name in a featured role (not as backup singers or musicians). The artists should not have regularly recorded or performed together in the past and should be primarily known for their contributions and public performances separate from one another. Each separate act must receive special “featured” billing on the recording’s label, song or tune on which they are featured and should be distinguished from backup singers and/or musicians. The award recognizes the featured artists, producer and label.

Emerging Artist of the Year This award is for a group or individual, new to the national bluegrass scene, which has made considerable advances artistically and/or commercially during the eligibility period. The band or individual should be performing under its/his/her name on a regular basis and not have more than two previous finalist nominations for this award. The award recognizes the group or individual artist.

Male Vocalist of the Year This award is for the outstanding male vocalist based on recorded and in-person performance. The award recognizes the artist.

Female Vocalist of the Year This award is for the outstanding female vocalist based on recorded and in-person performance. The award recognizes the artist.

Instrumental Performers of the Year These awards are for artists who, on recorded and/or in-person performance during the specified time period, have shown an extraordinary mastery of their instruments. Nominations and awards will be made in six subcategories: banjo, bass, fiddle, Dobro, guitar and mandolin. The awards recognize the artist.

International Bluegrass

| April 2017

13

TRACK: SONGWRITER Note from the editor: we continue our monthly previews of the professional development tracks for World of Bluegrass 2017. We appreciate the dedication of our Education Committee and the different Track Committees to bring members timely, relevant content that can boost your game.

“

We are excited to announce that our WOB Songwriter Track will be back again this year....and promises to be better than ever.

Your IBMA Songwriter Committee has been busy at work organizing a variety of seminars and song-centric events, creating opportunity, and offering a wealth of information to help you going forward. Our moderators and panelists include some of the most knowledgeable and experienced folks in the music field, and we hope you will take advantage of this unique opportunity to learn from the best.

Here’s what we have lined up so far.

More details to follow. See you all in Raleigh!

-Rick Lang IBMA Songwriter Committee, Chair

Publishing 101 Hosted by Nashville publisher Sherrill Blackman, this panel will help you to learn all the ins and outs of music publishing including PROs, licensing, royalty sources, and more.

The Essence of Good Songwriting For the very first time at WOB we are offering an in-depth workshop on the actual craft of songwriting, led by a panel of some of the very best in the music industry. This is a unique opportunity to learn techniques that will help you improve and hone your songwriting skills, and turn a good song into a great song. No matter what level you are at as a songwriter, this is one you won’t want to miss!

Songwriter/Mentor One-on-One Sessions This is a unique opportunity for up and coming writers to learn a few tricks of the trade from some of the most accomplished songwriters in our genre, face to face. These one-on-one sessions are an extension of our ongoing and very successful Songwriter Mentor program headed up by our very own Tony Rackley. More info and details to follow.

Youth Songwriter Workshop Designed specifically for our younger IBMA songwriters (under 25), here is a chance to learn some songwriting tips from one of our seasoned professional writers. Our youth is our future!

14 International Bluegrass | April 2017

Song Critiques

Getting Cuts and Getting Paid: Connecting the Dots

An important part of improving and growing as a songwriter is to have your songs critiqued. Just bring in a demo of what you feel is one of your best songs, along with the lyrics, to the session.

Our panel will give you a constructive evaluation on both composition and presentation. Demos will be chosen at random, and writers will remain anonymous.

Sherrill Blackman and his panel will discuss various markets for your songs, the do’s and don’ts of effective song pitching, and how to collect your hard-earned songwriter royalties. Bring your notebook, bring your questions!

Song Circles Ever popular, song circles are a way you can share your songs with other writers in a low-key setting. It is a great opportunity to network, and possibly meet potential co-writers. We offer three separate song circles on Thursday afternoon hosted by a pair of our IBMA member writers.

Songwriter Showcase Since its inception in 1999, this has been a unique opportunity for songwriters to showcase their original compositions before a live audience at WOB. A lot of great new talent has been introduced to bluegrass through the Songwriter Showcase. The Showcase submission process closed March 31, and now a committee of music industry members are selecting the writers who’ll perform in Raleigh in September. Be sure to check it out on the Workshop Stage on Thursday afternoon. It all starts with a song!

Songwriter Meet & Mingle A wonderful, one of a kind songwriter event will be back by popular demand.

A great way to meet and network with other writers, and rub elbows with some of our industry’s top professional songwriters, publishers, record producers, song pluggers, record label owners and artists. Held in a relaxed setting, including refreshments and cash bar. Well over 100 people attended last year. Don’t miss it!

International Bluegrass

| April 2017

15

Welcome Leadership Bluegrass Class of 2017

Leadership Bluegrass panel: Challenges of Presenting Live Music. Claire Armbruster, Planning Stages, Inc., Dan Rogers, Grand Ole Opry, Jean Spivey, Old Settler’s Music Festival. Moderator, Nancy Cardwell. Photo credit: Alane Anno

The International Bluegrass Music Association is proud to announce the graduating class of Leadership Bluegrass 2017.

Leadership Bluegrass is an intensive, three-day program focused on interactive learning and networking experiences that invite participants to examine the challenges and opportunities facing the bluegrass music industry, and pursue leadership development. This was the 18th year of Leadership Bluegrass, which now boasts over 400 alumni. Leadership Bluegrass 2017 was hosted at BMI in Nashville, Tennessee March 20 through 22.

Each year, participants are selected through a highly competitive application process and are a cross-section of current and future leaders from all areas of the industry, coming from various regions of the U.S. and the world.

The 2017 Leadership Bluegrass graduates are: Erik Alvar, Jim Hurst Trio, Gainesville, TN Lee Bidgood, East Tennessee State University, Johnson City, TN Jeff Burke, Wernick Method/Country Music Hall of Fame, Nashville, TN Adam Engelhardt, Sony/ATV Music Publishing, Nashville, TN Anna Frick, Airshow Mastering, Boulder, CO Barb Heller, North Country Public Radio, Canton, NY Justin Hiltner, Artist, Nashville, TN Kathryn Jenkins, Kentucky School of Bluegrass and Traditional Music, Sevierville, TN Bronwyn Keith-Hynes, Mile Twelve, Jamaica Plain, MA Irene Kelley, Artist/Songwriter, Nashville, TN uri kohen, Westport Folk & Bluegrass Festival, County Mayo, Ireland Brennen Leigh, High Plains Jamboree, Austin, TX CJ Lewandowski, The Po’ Ramblin’ Boys/Bluegrass Today/Missouri Bluegrass Preservation Association, Sevierville, TN Corrina Rose Logston, Independent Artist/High Fidelity, Whites Creek, TN Laura Mainer, Joe Mullins and The Radio Ramblers, Johnson City. TN John Meyer, Museum of Appalachia/Tennessee Fall Homecoming, Clinton, TN Ashley Moyer, Rounder Label Group, Nashville, TN Joe Newberry, Artist, Raleigh, NC Akira Otsuka, Bluegrass 45, Gaithersburg, MD Ricky Gene Powell, Wintergrass/Artist-Teacher-Event Producer, Burien, WA Craig Reed, Downtown Raleigh Alliance/Younger Brother Productions, Raleigh, NC Bobby Rymer, Writers Den Music Group, Nashville, TN John Smith, Free Dirt Records & Service Co, Washington DC Bill Thibodeau, Rick’s Musical Instruments/Rhode Island Bluegrass Alliance, Cumberland, RI Kris Truelsen, Radio Bristol, Birthplace of Country Music, Bristol, VA Rachel Whitney, Pandora Media, Nashville, TN

16 International Bluegrass | April 2017

Appearing in photo: Front: Bobby Rymer, Justin Hiltner, Craig Reed, Irene Kelley, Laura Mainer, Kathryn Jenkins, uri kohen.

2nd Row: Ashley Moyer, Rachel Whitney, Kris Truelsen, Anna Frick, John Smith, Corrina Rose Logston.

3rd Row: Lee Bidgood, Ricky Gene Powell, Bronwyn Keith-Hynes, Akira Otsuka, Adam Engelhardt.

4th Row: Brennen Leigh, Barb Heller, Erik Alvar, John Meyer, Jeff Burke. Back Row: Bill Thibodeau, CJ Lewandoski, Joe Newberry

According to IBMA Executive Director Paul Schiminger, “A central focus of the IBMA’s mission is to connect and educate bluegrass professionals. Leadership Bluegrass has become an essential and highly popular program to help fulfill that mission. It is a hands-on, intensive experience for those who are shaping our music and its industry.

I salute and thank the Class of 2017 for participating and for making an important commitment to their careers and our entire bluegrass community. I also want to thank the Leadership Bluegrass Planning Committee for their excellent work and Jean Spivey for her tremendous leadership as the committee’s Chair for these past two years!”

Trisha Tubbs served as the course facilitator, her 7th consecutive year, and Tim Kruzic was her assistant. Sponsors for Leadership Bluegrass include BMI, Wintergrass, Rick Spratt, Bluegrass Heritage Foundation and Williams Mullen.

International Bluegrass

| April 2017

17

Call for Proposals: 2017 Bluegrass Music Symposium The Bluegrass Symposium held in 2005 at Western Kentucky University was a watershed event in bringing scholarly attention to bluegrass music. Bluegrass symposia at Harvard (2010) and University of North Carolina at Chapel Hill (2016) have continued to gather scholars who focus on bluegrass as a style, practice, and business. Presentations at the International Bluegrass Music Association’s World of Bluegrass Conference in September of 2017 will further foster the community of scholars who research and write about bluegrass music.

A selection committee will select proposals for paper presentations of twenty minutes in length, each to be followed by ten minutes for questions. Scholars of music, scholars from other disciplines who study bluegrass, and students are encouraged to submit proposals. The committee will select papers anonymously. The deadline to submit presentation proposals is April 15, 2017.

Please include the following with all proposals: Name Presentation title Institutional affiliation Mailing address Email address Phone number

contact: Lee Bidgood East Tennessee State University Box 70435 Johnson City, TN 37614 423 439 7072 Bidgood@etsu.edu

18 International Bluegrass | April 2017

APRIL 3 LAST DAY

SAVE UP TO $632!

MEMBERS WHO

TO JOIN OR RENEW & STILL VOTE ON FIRST BALLOT

BOOK WITH US SAVE UP TO $95 A NIGHT ON THEIR HOTELS! PLUS

APRIL 4 IBMA MEMBERS ON-SALE DATE

SAVE $95 MORE ON EARLY BIRD CONFERENCE RATES!

JOIN IBMA TODAY!

APRIL 14 FIRST ROUND OF AWARDS BALLOTS APRIL 18 NONMEMBERS ON-SALE DATE

International Bluegrass

| April 2017

19

NEW RELEASES

Reviews by Bob Webster and Kelly Kessler

Done Gone Haley’s Comet [Just For the Records]

Balsam Range Mountain Voodoo [Mountain Home Music]

Stringworks Kristin Scott Benson [Mountain Home Music]

This duo, playing together in Norway since 2015, take their name from the American fiddler Ed Haley, who left behind a treasure chest of great original old-time music. Magnus Wiik had been working on these tunes for years on his own, for lack of any other Norwegians who shared his interest.

As indicated on the band’s website, “Mountain Voodoo” is like the Book of Life, Chapter Six for Balsam Range: 13 tracks filled with songs of journey, home, sense of place, hardcore stomping drive and longing.”

This is Kristin’s third solo project and she is featured on the cover of the March 2017 issue of Banjo Newsletter. That article covers her approach to writing instrumentals, what keys and tunings she uses, and how she selected the numbers for this recording.

Luckily, Fiddler’s Grove champ and ETSU bluegrass & old time student Meade Richter, who knows all the Haley tunes and more, moved to Oslo to pursue a degree and chanced to cross paths with Wiik.

As the pair like to say, “A new candidate for Norway’s most hyperactive bluegrass outfit was born!” That kinetic energy shows up in how, with each of their tunes, they take some very old roots many new places. They are joined by Ole Morten Vågan, a well-known bassist on the European jazz scene as well as artistic director for the renowned Trondheim Jazz Orchestra.

Done Gone comes out this month. [KK] Website

Video

Vocalist and bass player Tim Surrett said the album title comes from the phenomenon of being high up on the mountains and the mystery therein with a rich culture defining how life is conducted. Nothing dark intended, but the song “Voodoo Doll” relates to the voodoo that seems to stick to the band and comes across on stage in their performances – “there’s something on ya”, fans have told them.

Having four lead singers gives them depth not found in some bands, and that’s on display here from Darren Nicholson’s old-country-sound lead vocals on “Hello Heartache” to Tim’s gospel rendition of “Wish You Were Here”, bringing to mind his days with the Kingsmen. Guitarist Caleb Smith’s interpretation of Milan Miller’s “Something About That Suitcase” makes you wonder what stories the suitcase could tell about where it’s been.

No matter what your taste in bluegrass might be, every listener can find something here to like. Take a listen to “Blue Collar Dreams” or “Eldorado Blue” with Buddy Melton and see if you agree. [BW] Website

Video

Half of “Stringworks” is devoted to vocals, and she shines on using the banjo to support the singer as well as creating music that doesn’t sound like the Grascals, the band where she anchors the banjo position. Banjo pickers will enjoy Kristin’s fast instrumental work on “Great Waterton,” “Eagle Eye Annie”, and the Scruggs feel on “Fisher.” Plus we’re treated to the previously unrecorded Bill Emerson tune, “Locust Grove.”

There are the vocals of Claire Lynch to enjoy on “When Fall Comes To New England” and Shawn Lane on the gospel number “You Gotta Climb Over The Cross.”

Non-pickers will be entertained as well.

The album includes Wayne Benson (mandolin), John Bryan (vocals), Terry Eldredge (vocals), Mickey Harris (vocals), Adam Haynes (fiddle), Chris Jones (vocals), Cody Kilby (guitar), Tim Surrett (bass), Jim VanCleve (fiddle), and Grant Williams (vocals).

There’s also a tab book available for those serious pickers who want to learn the note-for-note version of all the solos with a CD “minus the banjo” to enable one to play along.

Website

20 International Bluegrass | April 2017

Video

2017 PREVIEW

Remembering: G.C. McCoury G.C. and Del at DelFest

It is with a heavy heart that I send along the sad news of the passing of Grover Cleveland McCoury II on February 27, 2017. Affectionately known by the family as G.C. He was born on February 14, 1930 and was 87 years old.

Uncle G.C. was my father’s first musical teacher showing him guitar chords at the age of 9 years old. In the early days Dad and G.C. would play and sing in their Missionary Baptist church. By the late 1940’s, G.C. was playing in Hillbilly bands in and around the local area of York County, Pa. He was a talented musician and strong singer with quite a vocal range. It was during this time that he discovered this new music from the Grand Ole Opry that was in his words... “hot as fire!” It didn’t have a name yet but would eventually be called Bluegrass. He said, “It hit me and Del pretty hard.”

When G.C., who was 9 years older and could buy 78 records, brought home Flatt & Scruggs’ 1951 recording of “Roll In My Sweet Baby’s Arms” my Dad’s life was changed forever. Earl Scruggs’ banjo playing captivated dad and he had to learn to play the banjo and G.C. had to learn Bluegrass guitar rhythm.

My dad said he wore the 78 record’s hole oblong playing it over and over figuring out Earl’s playing. They would play together till G.C. got married and started a family and dad began playing with Keith Daniels. This would put my dad on his musical journey which continues to this day.

22 International Bluegrass | April 2017

REMEMBERING

Uncle G.C. would continue to play music mainly as a hobby and in church with his younger brother Jerry McCoury and his son Grover Cleveland lll through the 1970’s. Uncle G.C. always had a loving and kind spirit and a wonderful smile to greet you. He indirectly influenced mine and my brother Rob’s lives by being the catalyst for my Dad and for this I am so grateful.

Because of our move to Nashville in 1992, our time was so limited with Uncle G.C. but I always looked forward to the McCoury family show at Delfest featuring G.C., Dad, and Uncle Jerry. This is what I consider my roots in music and it was so rewarding to the family to have these moments. Fortunately, their sisters Elizabeth, Vivian, Jeanette and their families could always attend these wonderful special times too. So many people would come up to me throughout the year on the road and sincerely thank us for doing the McCoury family show. I know he’ll be there in spirit smiling and watching from above.

Uncle G.C. was a devoted Christian with the strongest of Faith. My Dad said “He knows where he’s going and was ready to go.”

In loving memory and God Bless Grover Cleveland “G.C.” McCoury II .

-Ronnie McCoury and the McCoury Family 3/1/2017

Del, Jerry and G.C. in 1962

Del, G.C. and Jerry in 2002

International Bluegrass

| April 2017

23

INDUSTRY NEWS

APRIL 2017

AGENTS, MANAGERS & PUBLICISTS MARTHA MOORE TO THE SOURCE HALL OF FAME

Publicist Martha Moore has been announced as a SOURCE Hall of Fame inductee. Bluegrass professionals know Martha through her work with WLAC Radio, MCA/ABC Records, PolyGram Records and So Much MOORE Media.

Over the years, Martha has helped build the careers of Bill Monroe, the Grascals, the Roys, the Stetson Family, NewTown and Darin & Brooke Aldridge.

This year’s 15th anniversary of the SOURCE Hall of Fame Awards ceremony takes place Tuesday, Aug. 22, 2017 at the Musicians Hall of Fame and Museum in Nashville, TN. The IBMA congratulates Martha Moore for this recognition of her many contributions to the music world.

INTERNATIONAL BARCELONA BLUEGRASS CAMP (Spain) Instructors Josep Traver, Joan Pau Cumellas, Lluís Goméz, Miguel Talavera, Oriol Saña, Roberto Cubero, Henrich Novak, Maribel Rivero and David Prat all taught a very successful Barcelona Bluegrass Camp 2017.

With 110 students in attendance (pictured on right) this past month, this event on Spain’s northern coast continues to grow. You can follow Barcelona Bluegrass Camp on Facebook.

WESTPORT FOLK & BLUEGRASS 10TH ANNUAL FESTIVAL (Co. Mayo, Ireland) Leadership Bluegrass 2017 Graduate Uri Kohen has made bluegrass thrive in the west of Ireland with his Westport Festival. The 10th Festival (June 9-11) will, as before, be a highquality, multiple-venue, open and inclusive event in Westport. Headliners include Cardboard Fox, who were Official WOB 2016 Showcase artists. The three-day Festival attracts local, national and international artists and audiences, with the artists coming from as far as the USA, England, Switzerland and Northern Ireland to join the many musicians from all over the country.

24 International Bluegrass | April 2017

INTERNATIONAL CONT. The nature and ethos of the event is very important.

Westport fosters an accessible, warm, open atmosphere where everyone – all generations, cultures and walks of life, locals and visitors – feel included and have fun. The audience profile is comprised of everyone from seasoned folk and bluegrass buffs to casual music fans.

Kohen adds, “Tell them that they and their friends are very welcome to the festival as musicians and music lovers!” You can learn more about the 10th Annual Westport Folk & Bluegrass Festival at their website, Facebook, Twitter, or YouTube channel.

Kohen recommends this excerpt filmed for Irish television to learn a bit more about his festival and his unlikely journey to bluegrass.

Send any industry news items for publication in IB to Kelly Kessler at

kelly@ibma.org. Deadline info: news items and press releases that reach me by the 18th of the month have a very good chance of running in the next month’s newsletter. Submitting before the deadline is encouraged.

Media guidelines:

-Word .doc or .docx files preferred.

-Images welcome. Please send images saved as jpegs at 72 dpi, and not larger than 5Mb. -Links to video, audio and downloads are all welcome.

If you’re in these IBMA constituencies, we want to carry your news: Agents, Managers & Publicists Artists, Composers, & Music Publishers Bluegrass Music Associations Broadcast Media Event Production International Recording, Distribution & Marketing Merchandisers & Luthiers Print, Media & Education Youth Council

International Bluegrass

| April 2017

25

IB

IB

International Bluegrass Music Association empowering the global bluegrass community